Myan Vandegraaff
Photography by Pia Johnson
'My Brilliant Career' Review by Myan Vandegraaff
My dear, fellow Australians.
It isn’t often that we’re able to go to a musical that is for us. Most musicals that are given a large platform in Australia are products of societies outside of our own, and their storylines evidence that. My Brilliant Career is a breath of fresh air from the constant stream of Americanised or European stories, offering something purely and uniquely Australian.
Originally based on a ficto-autobiographical 1901 novel by Miles Franklin, My Brilliant Career is fiercely feminist, outrageously powerful, and full of hope. Set in the outback of rural New South Wales, the story follows Sybylla Melvyn (Kala Gare) on her growth into womanhood, through a journey of self discovery, identity, and ambition, all of which plays out brilliantly on stage. The adapted stageplay was written by Sheridan Harbridge and Dean Bryant, with music by Matthew Frank and lyrics by Dean Bryant. This production was directed by Anne-Louise Sarks.
The set is perfectly simple, consisting of straw carpeting across the whole stage, with a rotating section centre stage. Upon this rotating section is a large white piano, with other instruments surrounding the centrepiece. As the show commenced, cast members began filing onto stage and playing instruments with house lights still up, invoking a sense of togetherness and unity through art.
The performances in this production are absolutely next level. Kala Gare’s voices just soars throughout the theatre with such effortlessness and composition. In her rendition of Sybylla Melvyn, Gare has truly solidified herself in the Australian musical theatre ethos. Beyond our leading lady, however, we have an incredible ensemble cast who not only consistently switch between character roles, but also between instruments that they play. The immense talent and skill required for such a feat is genuinely beyond me, and I spent a large part of my viewing experience just gawking at how incredible this cast was. In no particular order we had Christina O’Neill (Mother/Helen/Mrs M’Swat/Ensemble), Drew Livingston (Father/Jay-Jay/M’Swat/Ensemble), Melanie Bird (Gertie/Blanche/Ensemble), Raj Labade (Harry/Peter/Ensemble), Cameron Bajraktarevic-Hayward (Frank/Ensemble), Lincoln Elliott (Jimmy/Horace/Ensemble), Ana Mitsikas (Grannie/Rose Jane/Ensemble), as well as musician Jarrad Payne and Musical Director Victoria Falconer. Despite the demanding nature of their multidisciplinary performances, this ensemble had so much cohesion and camaraderie between one another that it felt less like watching difficult performances take place and more like witnessing a group of artists on the same wavelength freely create together.
What struck me most about this show beyond its five star performances and deeply touching messaging was its dedication to uplifting the Australian identity. Oftentimes, Australian artists are left in a lull of inactivity, from which the only escape seems to be to continue your art abroad. This piece of theatre is just the optimistic nudge that Australian artists need.My Brilliant Careerdoesn’t act in spite of Australia, but in service of—in fact,becauseof Australia. It doesn’t participate in farcities of what it is—it isn’t trying to make it to Broadway or win a TONY—it is made wholeheartedly with Australia as both the subject and the audience. In Sybylla Melvyn, we have our ownLittle-Women-of-Green-Gables, a feminist icon of grit and talent, wrapped in the authenticity of the Australian story. How lucky are we?